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Undercurrent: Sino-Korea Young Artists Group Exhibition opens at SURVEY SEIN

Jointly organized by “Art Nova 100” and SURVEY SEIN, “Undercurrent: Sino-Korea Young Artists Group Exhibition” will announce its opening at SURVEY SEIN in 798 Art District at 15:00, on April 27, 2013.

The young artists walk on a road of artistic discovery with courage and imagination, which is transformed into a personalized art look and formal language, based on the personal experience of life, they mix and melt their personal experiences of life into their works, which are directly originated from their social experiences and indirectly from a lot of research. To some extent, the depth of artistic creation depends on the depth of the experience of life, and it impacts on the independence and freedom of the artist in the creative process. It’s obvious that there are different artistic looks of the 12 young artists, who have their own breath for respective independent art styles, and maintain a solid difference between each other.

In “Endless” series, Chen Youyin created a fragmented virtual world, with the exquisite beauty of a woman, revealing the instant eternal, the quiet fleeting four seasons, in a small scale of painting, on the principle of “hidden”. In Guo Zilong’s “Archive” series, he sealed the subject by “heart”, which changes and moves when the subject changes and shifts. Hu Wendan’s work conveys a relaxed and happy artistic conception of landscape, with small paper cranes, bonsai, rockery and the composition of the majority of blank spaces. Kim Sejoong is a one of the youth artists leading Korean Hyperrealism, sky is an inherent image of his paintings, and symbolizes the spiritual eternal, memory like a channel, leading the subject of memory into the eternal world. Ink series is one of the most important works for Li Wei, who created a dual screen that is seen figuratively in the distance while abstract when close, by using an ink blot, blurring the boundaries between the figurative and abstract arts. It features his works “Life Pond”, conveying Chinese awe and respect for life, embodying Buddhism’s spirit of compassion, saving all lives. French returnee Liu Xia made use of the screen as a continuity in a movie screenshot, breaking the logical narrative way, with different combinations of paintings, creating an unpredictable parable outcome, exploring the narrative openness and pluralism. With depiction of the scenes, characters, and toys of childhood, Lu Xi’s works evoke the memory of the times with personal memories. Meng Zhigang completely abandoned the functional and symbolic nature of architecture, and deliberately avoided the influence, instead pursued a simple, independent architecture itself. Detaching from the blur of color and images of the visual experiences to be a new visual feature, Wang Chunli recorded current daily scenes, in the remnants of visual memories. Wang Xi has been concerned with the innovation of the schema. In the works on display, taking the erotic plum as the entry point of the creation, he studied the contemporary road of Chinese Flowers and Bird Painting by mechanical aesthetics, erotic plums and mechanical trunks. Xiao Bin, from a rural area, preferred the artistic creation of original ecology, the latest works uses lotus as media, as the artist had always done, seeing the daily items as art, studying the diversity of the media, and as far as possible, kept the original property of the material. Yu Guo portrayed the current scenery that concerns the public, such as politics, the economy, entertainment and daily life, with the usual screen showing a deep sense of ritual, deleting the signs of scenery, blurring the faces of the figures, a viewer is neither pigeon-holed, nor does he find it easy to stay out of it.

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